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Made available in DSpace on 2016-04-28T14:16:26Z (GMT). No. of bitstreams: 1 sandra mutarelli.pdf: 3399845 bytes, checksum: c88b4129ab5074cf6590b7b7f9b3c78d (MD5) Previous issue date: 2006-06-21 / Rudolf Steiner (1861-1925) was a philosopher, journalist and educator. Nowadays he is usually associated with lhe Camphill movement of curativa education and its architecture, several studies on religion, lhe biodynamical agricultura and lhe anthroposophical medicina. The aim of this research is to analyse Steiner's ideas concerning lhe four temperaments, taking into account its historical context, trying to check lhe similarities and differences between Steiner's conceptions and lhe concept of lhe four temperaments which is present in some writings belonging to lhe ancient Hippocratic-Galenic tradition. This dissertation contains an introduction and five chapters. Chapter 1 discusses some features of lhe ancient theory of lhe four humours, lhe theory of lhe temperaments and their developments. Chapter 2 providas a general overlook of Steiner's context and deals with his background, career, professional interests as well as some of lhe possible influences he received. Chapter 3 studies Steiner's conception of lhe four temperaments as presented in his work Das Geheimnis der menschlichen Temperamenteas well as olhar works by Steiner. It algo analyses lhe application of lhe conception of lhe four types of temperaments to education. Chapter 4 compares Rudolf Steiner's ideas concerning lhe four temperaments to lhe ideas which are part of lhe Hippocratic-Galenic tradition on this respect. Chapter 5 presents some final remarks on lhe subject. This study lead to lhe conclusion that although there are some similarities between lhe two conceptions in some respects, there are algo wide differences between them. For example, in both cases lhe terminology is lhe sarna. However, whereas in lhe Hippocratic-Galenic tradition, lhe temperament is produced by lhe predominance of one of lhe four humours (blood, yellow bife, phlegm and black bife), in Steiner's conception it is produced by lhe predominance of one of lhe four components of man (the physical body, lhe astral body, lhe ethereal body and lhe selt). Moreover, it was pointed out that Steiner's conception of lhe four temperaments providas a bridge uniting lhe pedagogical knowledge and lhe knowledge of lhe human constitution / Rudolf Steiner (1861-1925) foi um filósofo, jornalista e educador. Atualmente seu nome está associado ao movimento Camphill de educação curativa, sua arquitetura, vários estudos sobre religião, à agricultura biodinâmica e à medicina antroposófica. . O objetivo principal desta pesquisa é analisar as idéias de Steiner acerca dos quatro temperamentos, dentro de seu contexto histórico, procurando verificar até que ponto existem semelhanças e diferenças entre as concepções de Steiner e o conceito dos quatro temperamentos que faz parte da antiga tradição hipocráticogalênica. Esta dissertação contém uma introdução e cinco capítulos. O capítulo 1 discute alguns aspectos da teoria humoral, da teoria dos temperamentos e seus desdobramentos. O capítulo 2 dá uma idéia geral do contexto de Steiner e trata de sua formação, carreira, interesses profissionais, bem como sobre algumas possíveis influências sobre seu pensamento. O capítulo 3 apresenta a concepção dos temperamentos em Steiner que aparece na obra Das Geheimnis der menschlichen Temperamente e suas relações com outros estudos do autor. Discute também a aplicação da concepção dos quatro temperamentos à educação. O capítulo 4 compara as idéias de Rudolf Steiner acerca dos quatro temperamentos com a concepção dos quatro temperamentos na tradição hipocrático-galênica. O capítulo 5 apresenta algumas considerações finais sobre o assunto. Este estudo levou à conclusão de que, embora existam algumas semelhanças entre as duas concepções em relação a alguns pontos, existem também grandes diferenças. Por exemplo, em ambas concepções a terminologia empregada para se referir aos tipos de temperamentos é a mesma. Porém, enquanto na tradição hipocrático-galênica os temperamentos eram determinados pela predominância de um dos quatro humores (sangue, bílis negra, bílis amarela e fleuma), na concepção de Steiner eles eram determinados pela predominância de um dos quatro membros constitutivos do homem (corpo físico, corpo etéreo, corpo astral e o eu). Além disso, verifica-se que a concepção dos quatro temperamentos de Steiner constitui uma ponte de integração entre saberes pedagógicos e os saberes sobre a constituição humana

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<p>Undersökningen behandlar Rudolf Abelins författarskap från slutet av 1880-talet och fram till mitten av 1910-talet. Det finns en avsaknad av forskning, om Abelin, som tar hänsyn till samtidskontexten och samtliga av hans publicerade verk. Uppsatsen åsyftar att visa hur samtliga böcker skall uppfattas som en helhet. De böcker som studeras är främst mönsterböcker i trädgårdsskötsel, men där ventileras också ett större system av idéer och värderingar. Litteraturen placeras i kontexten av den kulturkris som uppkom­mer när moderniteten gör sitt intåg i Sverige.  Modernitetskritiska rörelser, som egna­hemsrörelsen och kolonirörelsen, jämförs med de idéer som presenteras i Abelins litte­ratur, för att på så vis försöka skapa en större förståelse för hur hans såg på sin samtid och framtid.</p><p>Uppsatsen påvisar att det finns stora likheter mellan Abelin och de modernitetskri­tiska rörelserna, och att det är en utveckling som skett över tid. Det som gör Abelin till ett original, jämfört med andra hemideologer, är att han bakar in sin kritik i böcker som främst rör trädgårdskonsten. Vid studie av samtliga av hans böcker så bildas det en röd tråd, som uppvisar tankar om ett större, enhetligt, idealsamhälle där förhållandet mellan människan och naturen kännetecknas av vördnad. Det står i stark kontrast till den ex­ploatering av naturen som industrialismen – moderniteten – representerar.</p><p>Resultaten i uppsatsen innebär en större förståelse för Abelins förhållande till samti­den, men också i hur han betraktar trädgårdarna ur ett annat perspektiv än rent estetiskt. Slutsatsen påvisar att det finns en rad områden där vidare forskningen kan gå vidare, för att kunna skapa en större bild av denna trädgårdens mästare.</p> / Ifall eventuella läsare har kommentarer så går det bra att vända sig till Olof.nson@gmail.com

Undersökningen behandlar Rudolf Abelins författarskap från slutet av 1880-talet och fram till mitten av 1910-talet. Det finns en avsaknad av forskning, om Abelin, som tar hänsyn till samtidskontexten och samtliga av hans publicerade verk. Uppsatsen åsyftar att visa hur samtliga böcker skall uppfattas som en helhet. De böcker som studeras är främst mönsterböcker i trädgårdsskötsel, men där ventileras också ett större system av idéer och värderingar. Litteraturen placeras i kontexten av den kulturkris som uppkom­mer när moderniteten gör sitt intåg i Sverige.  Modernitetskritiska rörelser, som egna­hemsrörelsen och kolonirörelsen, jämförs med de idéer som presenteras i Abelins litte­ratur, för att på så vis försöka skapa en större förståelse för hur hans såg på sin samtid och framtid. Uppsatsen påvisar att det finns stora likheter mellan Abelin och de modernitetskri­tiska rörelserna, och att det är en utveckling som skett över tid. Det som gör Abelin till ett original, jämfört med andra hemideologer, är att han bakar in sin kritik i böcker som främst rör trädgårdskonsten. Vid studie av samtliga av hans böcker så bildas det en röd tråd, som uppvisar tankar om ett större, enhetligt, idealsamhälle där förhållandet mellan människan och naturen kännetecknas av vördnad. Det står i stark kontrast till den ex­ploatering av naturen som industrialismen – moderniteten – representerar. Resultaten i uppsatsen innebär en större förståelse för Abelins förhållande till samti­den, men också i hur han betraktar trädgårdarna ur ett annat perspektiv än rent estetiskt. Slutsatsen påvisar att det finns en rad områden där vidare forskningen kan gå vidare, för att kunna skapa en större bild av denna trädgårdens mästare. / Ifall eventuella läsare har kommentarer så går det bra att vända sig till Olof.nson@gmail.com

Hans von Aachen, court artist to the Habsburg Holy Roman Emperor Rudolf II in Prague, created a series of small painting called the Allegories on the Long Turkish War. Von Aachen made the Allegories between 1604 and 1606 and Rudolf II kept them bound in a red book in his Kunstkammer. This series selects events and battles from the Long War against the Ottoman Empire, 1593-1606, to create a flattering propagandistic image of the emperor in order to strengthen his support. Rudolf’s brother, Archduke Matthias of Austria, began plotting against the emperor beginning in 1600. By 1606 he was actively usurping Rudolf’s political power. I examine von Aachen’s visual description of imperial power, the alternate history the Allegories present, and the ways they engage with Neo-Platonic theories to convey validity to viewers. In my thesis, I outline the events of the Long War in order to compare them to von Aachen’s portrayals and to understand how he restructures chronological history to convey his message about Rudolf’s rulership. I briefly analyze each painting but I focus primarily on the eighth scene, the Conquest of Székesfehérvár. Sultan Mehmed III sits opposite Rudolf II in dignified defeat in this painting. I investigate the visual treatment of the sultan through the historical interactions between the Ottoman and Holy Roman Empires and propose the political function served by depicting him as a noble enemy. I finally discuss the way von Aachen uses symbols and allegory to convey a potent message and convince the viewer of its validity. Ultimately, these works should be seen as political propaganda used to combat Rudolf’s brother Archduke Matthias’ political takeover and not as Rudolf’s fantastical escapism from his losing battle against his brother. / text

Submitted diploma thesis describes the life of historian Rudolf Holinka. His area of specialization was especially in the Middle Ages. He was a well-known professor and an author of medieval-themed books. His life was significantly influenced by the important changes in the society. He became a member of academic environment at Charles University in Prague at Faculty of Philosophy. He developed his interest in the history under the influence of the first generation Goll's students. His activity was moved to the recently opened Faculty of Philosophy at Comenius University in Bratislava. He had to leave this place in consequence of changes which were happened during 1938. Holinka didn't even avoid the Nazi repression which burst out after German occupation of Czechoslovakia. There is also depicted his life during the Communist era. This diploma work tries as first to map the historian's life from the time of early studies up to his university work which was culminated by his appointment of professor at Faculty of Philosophy at Masaryk University in Brno.

From Introduction: In his influential treatise, Concerning the Spiritual in Art, Wassily Kandinsky refers to Goethe's "prophetic remark" made in connection with the relationship between the arts in which Goethe had asserted that "painting must count this relationship her main foundation". Kandinsky went on to say that Painting in his day stood "at the first stage of a road by which she abstraction of composition". I will, according to her thought and arrive own possibilities, make art an finally at purely artistic What he seems to have been suggesting is that form, colour and sound are differentiated expressions of a unifying spiritual content, that this spiritual content lives also somehow in the human soul and that it is the new task of the artist to awaken original creativity from out of this spirit by working consciously in creative empathy with the laws implicit in form, colour and sound. The extent to which this view of creativity is indebted to Goethe is only fully realised when it is discovered how closely Kandinsky's writings on colour recapitulate his. In an unpublished essay: Goethe's Theory of Colours : Its relation to some aspects in . the history of Art, Michael Grimly argues that not only Kandinsky in Germany but also Chevreul, the colour-theoretician who was, in France, the leading light, in a technical sense, both of Delacroix and of the Impressionists simply repeats in his writings on Colour many of the ideas that Goethe had already formulated.

Made available in DSpace on 2016-02-05T18:30:02Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-07-13. Added 1 bitstream(s) on 2016-02-05T18:34:08Z : No. of bitstreams: 1 000857699.pdf: 993960 bytes, checksum: 4b11dbb813ff41cc61fc48f7120fc224 (MD5) / Este trabalho investiga os princípios pedagógicos de Paulo Freire e Rudolf Steiner para dialogar com a realidade discente, influenciada pelos meios eletrônicos - televisão, videogame e computador. A abordagem é qualitativa e utiliza para a coleta de dados análise documental e entrevista semiestruturada. As equipes gestoras e três professores de cada escola, uma waldorf e outra freireana, ambas do interior de São Paulo, foram entrevistados. Para análise dos dados utilizou-se o paradigma indiciário proposto por Carlo Ginzburg. A partir desses dados, concluiu-se que as duas pedagogias apresentam em comum a não utilização de apostilas e o incentivo à autonomia dos professores. Em complementação, a waldorf prioriza o desenvolvimento individual dos alunos para beneficiar o social e a freireana, o contexto social como base formativa para a construção do indivíduo. Ao abordar os meios eletrônicos identificou-se cautela: a pedagogia waldorf defende as vivências artísticas e um ritmo diferenciado de condução dos conteúdos, como alimento que supre as necessidades dos alunos; a pedagogia freireana acredita na interdisciplinaridade dos conteúdos, praticados em forma de projetos que se modificam ano a ano, despertando o interesse dos alunos. Steiner e Freire não viveram a tecnologia do século XXI, mas suas contribuições alertam para que os meios eletrônicos não constituam o âmbito mais fundamental no contexto escolar; pois, a educação humanística, defendida por ambos, luta pela valorização de um Homem historicamente situado no mundo de forma crítica e autônoma. O ser docente deve educar-se permanentemente, ao considerar o discente num agir a partir do ser e reconhecer / This paper investigates the pedagogical principles of Paulo Freire and Rudolf Steiner in how they approach the student reality, as influenced by electronic media - television, videogame and computer. The methodology is qualitative and data were collected in the pedagogic projects and semi-structured interviews. The management teams and three teachers from each school, one Waldorf and one Freire, both in the interior of São Paulo State, were interviewed. Data analysis used the evidentiary paradigm proposed by Carlo Ginzburg. It was concluded that the two pedagogies have in common not using handouts and encouragement of the teacher‟s autonomy. In addition, the Waldorf prioritizes the individual development of students towards the social, and Freire, the social context as a formative basis for the construction of the individual. In addressing the electronic media, it was identified care: the Waldorf pedagogy defends the artistic experience and an individual pace of driving of the contents, as impulse to meet the needs of students; Freire's pedagogy believes in the interdisciplinary content, practiced in the form of projects that change every year, attracting the interest of students. Steiner and Freire did not live with twenty-first century technology, but their contributions warn that electronic media are not the most important part in the school context; therefore, humanistic education, advocated by both, seeks to educate the individuals critically and independently, historically situated in the world. To be a teacher imply educate himself/herself permanently, and consider the student action from student‟s being and recognizing

Made available in DSpace on 2014-06-11T19:22:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-08-14Bitstream added on 2014-06-13T19:07:55Z : No. of bitstreams: 1 trevisan_mca_me_ia.pdf: 885979 bytes, checksum: 66089eeec0f88c3c04ec404289460eb7 (MD5) / Universidade Estadual Paulista (UNESP) / Esta pesquisa apresenta um caminho de encenar um texto teatral a partir da ação dramática de cada cena, utilizando a análise de texto e a movimentação corporal do ator como estímulos de criação, articulando, ao longo do percurso, esses dois elementos. Desenvolvemos esse trabalho fundamentados pelos estudos de Constantin Stanislávski e Rudolf Laban. Em um primeiro momento, aprofundamos nosso conhecimento sobre os dois autores e recortamos dos seus sistemas o que era pertinente a nossa proposta, isto é, os elementos que poderiam influenciar no tratamento da ação dramática. Em um segundo momento, aplicamos esses conteúdos na encenação do texto teatral O Provedor, de Marcos Benedito de Oliveira. No caminho que percorremos do texto a sua representação, confirmamos a hipótese formulada: a análise de texto segundo Stanislávski pode identificar e resumir as ações dramáticas de cada cena; por sua vez, o movimento corporal do ator preparado por meio do Sistema Laban pode executar essas ações expressivamente, estabelecendo-se, a partir do momento em que começamos a levantar o espetáculo, um diálogo dinâmico e constante entre esses dois elementos. Os resumos das ações dramáticas constituíram-se nas nossas células matrizes de criação, e a encenação foi construída e elaborada a partir deles... / This research presents a way of acting a theatrical text starting from the dramatic action in each scene, using the text analysis and the actor’s body movement as creation incentive, joining, along the movement, these two elements together. We developed this job based on Constantin Stanislávski and Rudolf Laban’s studies. In the first moment, we went deeper into our knowledge about these two authors and we took from their systems what was pertinent to our proposal, that is to say, the elements that could have influence in the treatment of the dramatic action. In the second moment, we applied these contents in the staging of the theatrical text O Provedor, of Marcos Benedito de Oliveira. From the text to the performance, we confirmed the formulated hypothesis: the text analysis according to Stanislávski can identify and summarize the dramatic actions of each scene; on the other hand, the actor’s body movement prepared by the Laban’s System can accomplish these actions meaningfully, establishing, since we started to build the show, a constant and dynamic dialog between these two elements. The summaries of the dramatic actions were formed in our creation mother cells, and the staging was built and elaborated from them. In this way, we highligt the relation between the stage score generated by the study of the text and the body movement, one supplementing and transforming the other... (Complete abstract click electronic access below)